PUB: Representations 113 – New World Slavery and the Matter of the Visual

Representations 113
A Special Issue on New World Slavery
Representations 113 from University of California Press—A Special Issue: New World Slavery and the Matter of the Visual, edited by Huey Copeland, Krista Thompson, and Darcy Grimaldo Grigsby.This special issue features essays on the ongoing effects of racial bondage as seen through art and the visual archive—Including 16 color reproductions.

Representations 113: New World Slavery and the Matter of the Visual makes an eloquent case for the critical importance of visual representation to the rewriting of slavery’s imaginary.
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In New World Slavery and the Matter of the Visual:
Perpetual Returns: New World Slavery and the Matter of the Visual
Huey Copeland, Krista Thompson
Read this articleNegative-Positive Truths
Darcy Grimaldo Grigsby

The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies
Krista Thompson

Artists’ Portfolios (16 full-color reproductions)
Hank Willis Thomas, Fred Wilson, Christopher Cozier

Glenn Ligon and Other Runaway Subjects
Huey Copeland

The Museu do Negro in Rio and the Cult of Anastácia as a New Model for the Memory of Slavery
Marcus Wood

Neither Lost nor Found: Slavery and the Visual Archive
Stephen Best

“What emerges, ultimately, is the definitively unfinished nature of freedom and the expansiveness of the peculiar institution’s deep structure: aspects of its legacy are always differently coming into view, underlining how our approach to its memory in the visual field must necessarily be shifting and recursive, ever alert to both the promises and perils of slavery’s perpetual returns.”
—Huey Copeland and Krista Thompson, from Perpetual Returns: New World Slavery and the Matter of the VisualVisit Representations online.
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Author: Camara Dia Holloway

I am the Project Manager for the Romare Bearden Digital Catalogue Raisonné at the Wildenstein Plattner Institute. I earned my PhD at Yale University in the History of Art Department and specialize in twentieth century American art with a particular focus on the history of photography, race and representation, and transatlantic modernist networks. I also serve as a Founding Co-Director of the Association for Critical Race Art History (ACRAH).

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